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Fairly good condition, the volunteer group as ever with our former mining sites struggling to develop the site
Mint condition 1960s edition of Milton Bradley's 'The Game of LIFE'. Found in 2018 at an estate sale in un-played with condition.
Like the fate of many toys and games at our house, Mom either threw ours in the garbage or gave it away.
The Game of Life
From Wikipedia, the free encyclopedia
For other uses, see The Game of Life (disambiguation).
The Game of Life, also known simply as Life, is a board game originally created in 1860 by Milton Bradley as The Checkered Game of Life, the first ever board game for his own company, the Milton Bradley Company. The Game of Life was US's first popular parlour game. The game simulates a person's travels through their life, from early adulthood to retirement, with college if necessary, jobs, marriage, and possible children along the way.
Up to six players, depending on the version, can participate in a single game. Variations of the game accommodate up to ten players.
The modern version was originally published 100 years later, in 1960. It was created and co-designed by Bill Markham and Reuben Klamer, respectively, and was "heartily endorsed" by Art Linkletter. It is now part of the permanent collection of the Smithsonian's National Museum of American History and an inductee into the National Toy Hall of Fame.
History
The game was originally created in 1860 by Milton Bradley as The Checkered Game of Life, and was the first game created by Bradley, a successful lithographer. The game sold 45,000 copies by the end of its first year. Like many 19th-century games, such as The Mansion of Happiness by S. B. Ives in 1843, it had a strong moral message.
The game board resembled a modified checkerboard. The object was to land on "good" spaces and collect 100 points. A player could gain 50 points by reaching "Happy Old Age" in the upper-right corner, opposite "Infancy" where one began. Instead of dice – which were associated with gambling – players used a six-sided top called a teetotum.
Modern game
In 1960 the modern Game of Life was introduced. A collaboration between Reuben Klamer and Bill Markham, it consists of a track which passes along, over, and through small mountains, buildings, and other features. A player travels along the track in a small plastic automobile, according to the spins of a small wheel on the board with spaces numbered one through ten. Each car has six holes into which pegs are added as the player "gets married" and "acquires children".
Some "early modern" editions have eight cars. The modern game pegs or "people" are pink and blue to distinguish the sexes (blue for male, pink for female). Each player starts the game with one peg that matches their sex.
There is also a bank which includes money in $5,000, $10,000, $20,000, $50,000, and $100,000 bills; automobile, life, fire, and/or homeowners' insurance policies (depending on the version); $20,000 promissory notes and stock certificates.
Other tangibles vary between versions of the game. $500 bills were dropped in the 1980s as were $1,000 bills in 1992. The rules in all different modern versions of the game are generally the same even though they may have different cards and spaces.
1960s version
The Game of Life, copyrighted by the Milton Bradley Company in 1960, had some differences from later versions. For example, once a player reached the "Day of Reckoning" space, they had to choose one of two options. The first was to continue along the road to "Millionaire Acres," if the player believed they had enough money to out-score all opponents. The second option was to try to become a "Millionaire Tycoon" by betting everything on one number and spinning the wheel.
The player immediately won the game if the chosen number came up, or went to the "Poor Farm" and was eliminated if it did not. If no player became a Millionaire Tycoon, the one with the highest final total won the game. In addition, there were spaces that forced a player to go back; in the case a player landed on one of these, they were forced to take the shortest route and pay no attention to any penalties and rewards in doing so.
This version had Art Linkletter as the spokesman, included his likeness on the $100,000 bills (with his name displayed on the bills as "Arthur Linkletter Esq.") and a rousing endorsement from Linkletter on the cover of the box. It was advertised as a "Milton Bradley 100th Anniversary Game" and as "A Full 3-D Action Game."
Winning Moves currently markets a classic 1960s edition.
1974 Citroen DS23 Fuel Injection with optional Factory Air-condition. Seen at Citroen Conservatoire in Aulnay Sous Bois France
Miss Violet facing her interviewers, Myrtil, Jimmy, Petra, Becky, Emma and Zaida.
The urchins decided they wanted to hire a grown-up to deal with things they wanted done but couldn't do themselves, because of their child condition.
The interview for Miss Violet Solano was to be set inside the old Imperial Theatre, across from Loki’s Absinthe Café in Babbage Square, to avoid the whole process of blindfolding her before leading her to the hideout.
Becky, Jimmy and Myrtil arrived three minutes before the set time of the interview. Miss Solano was waiting for them, sitting in the front row.
[15:27] Myrtil Igaly: 'ello Miss Vi! You are early!
[15:27] VI : good afternoon Jimmy, Myrtil and Becky
[15:27] Jimmy Branagh: Hoy Miss Vi!
[15:27] Becky Blackcinder: Hullo ma'am!
[15:27] Myrtil Igaly: Good afternoon to you too and thank you for coming
[15:28] VI : so do you wish to interview me here? Or up in your rooms in the attic?
[15:28] Myrtil Igaly: Oh, so you know about those...
[15:28] VI : there is little I miss in this town
[15:28] Becky Blackcinder: I was gonna say, I thought that was a secret! But it's not that hard to find if you look.
[15:29] VI : not if you’re used to using the high road
[15:29] Myrtil Igaly: I had set up the interview here cause our hideout was to be kept a secret but if you know about it heh
[15:29] Becky Blackcinder: Observant is good.
[15:29] Myrtil Igaly: will be quieter up there
[15:29] Myrtil Igaly: Please lead the way!
[15:29] Myrtil Igaly grins
All four then took the dangerous way from the Imperial to the hideout and, once there, settled at the long table. Petra was already there, waiting for them.
[15:32] Myrtil Igaly: Hey Petra!
[15:32] Jimmy Branagh: Hoy Petra
[15:32] VI : very nice really reminds of the one you had in the gut
[15:32] Petra Flax : Hello!
[15:32] Myrtil Igaly: I don't actually remember that one!
[15:32] Myrtil Igaly: But thank you
[15:33] Petra Flax : The one in the gut?
[15:33] VI : hello petra
[15:33] Myrtil Igaly: Alright, so first of all thank you for coming to be interviewed, I know you are a very busy lady.
[15:34] VI : i have my moments of peace
[15:34] Myrtil Igaly: From your note, I gather you understand what we are looking for.
[15:34] Petra Flax lights her pipe
[15:34] Myrtil Igaly: And we will be asking you questions in turn to decide if you would be fit for the job.
[15:34] VI : yes a go between to work with the adults
[15:34] Myrtil Igaly nods
[15:35] Myrtil Igaly: So, if you are ready, I will start.
[15:35] VI : ask away
[15:35] Jimmy Branagh pulls out the notebook, rips a page off and hands to Myrtil
[15:35] Myrtil Igaly grins. "Thanks Jimmy!"
[15:35] Jimmy Branagh then hands blank pages to Petra and Becky
[15:35] Becky Blackcinder peers over the tops of her spectacles, trying to look interrogative.
[15:36] Myrtil Igaly glances seriously at Miss Solano
[15:36] Jimmy Branagh: Welcome!
[15:36] Myrtil Igaly: Miss Violet.
[15:36] Myrtil Igaly: In the note I sent you to ask you to come for an interview, I mentioned that I wanted an information from you, as a show of good will.
[15:37] VI : of course
[15:37] Myrtil Igaly: That would be the name of the urchin from whom you learnt about those interviews.
[15:37] Myrtil Igaly: Could you please provide us with their name?
[15:38] Jimmy Branagh waits, charcoal stick at the ready
[15:38] Myrtil Igaly raises an eyebrow, waiting for the reply
[15:38] VI : I would if I could. But it was Omig who told me about it and he got it from one of our ...... employees, but I’ll look into it
[15:38] Myrtil Igaly nods. "Thank you, that would be most appreciated."
[15:39] Jimmy Branagh scribbles
Emma arrived, running inside and a little short-breathed.
[15:39] Myrtil Igaly: Hey Emma! Glad you could make it!
[15:39] VI : hello emma
[15:39] Jimmy Branagh: Hoy Emma
[15:39] Emma Walsh : Hello
[15:39] Myrtil Igaly taps on Jimmy's shoulder. "Your turn, Jimmy."
[15:39] Jimmy Branagh: Awlroight.
[15:40] Jimmy Branagh: Miss VI, ifn we wos awl at a hoity-toity party, an' th' host offered us urchins Wiggyfish gruel, an' you 'ad a big stick in yer hand, wot would ya do?
[15:40] Myrtil Igaly grins
[15:40] Becky Blackcinder stifles a giggle.
[15:40] VI : that would depend
[15:41] Jimmy Branagh raises an eyebrow ominously
[15:41] VI : were you invited?
[15:41] Jimmy Branagh: Let's say we wos.
[15:41] Myrtil Igaly studies Miss Solano closely
[15:41] VI : than i would complain to our host about his ill treatment of you
[15:42] Jimmy Branagh: Awlroight.
[15:42] Myrtil Igaly nods with a smile
[15:42] Jimmy Branagh: Now let's say we wosn't invoighted
[15:42] Jimmy Branagh: Wot would ya do?
[15:42] VI : attacking him would not improve your, or my reputation with the people you wish to deal with
[15:43] Myrtil Igaly scribbles
[15:43] Jimmy Branagh: Thet wosn't th' question
[15:43] Jimmy Branagh: Wot would ya do?
[15:43] VI : i would offer to pay the host for better food for you
[15:43] Jimmy Branagh: Awlroight.
[15:43] Jimmy Branagh scribbles
[15:43] Jimmy Branagh: Petra?
[15:43] Becky Blackcinder scribbles too, although she might just be doodling.
[15:44] Emma Walsh doesn't have a paper again...
[15:44] Petra Flax : My turn?
[15:44] Jimmy Branagh makes a paper airship and sails it to Emma
[15:44] Myrtil Igaly: Yes Petra, we're asking questions in turn to Miss Violet
[15:44] Myrtil Igaly: But we can skip you for this round if you don't know!
[15:45] Petra Flax : Well my big question is pretty practical. Alligaters
[15:45] Emma Walsh gets her paper and starts drawing Miss Vi as a stick figure rabbit
[15:45] Myrtil Igaly: Oh
[15:45] Jimmy Branagh looks at Petra
[15:45] Myrtil Igaly leans on the table to take a better glance at Petra
[15:45] Petra Flax : How would you deal with a plague of alligators?
[15:45] Jimmy Branagh: Oh okay ....
[15:46] VI : Alligaters?
[15:46] Becky Blackcinder is also doodling.
[15:46] Myrtil Igaly turns to Miss Vi
[15:46] VI : really?
[15:46] Jimmy Branagh: Aligaters in th' sewers mybee
[15:46] Myrtil Igaly: Anything could happen in New Babbage!
[15:47] Emma Walsh : We had clockwork hippos attack once....
[15:47] Petra Flax : Yep… its happened before in other cities…
[15:47] Jimmy Branagh: Yesh
[15:47] VI : well that i think is a matter for public works not public relations
[15:47] Jimmy Branagh: They wos 'orrible
[15:47] Jimmy Branagh: It wos loike Attack of th' Popplefots
[15:47] Jimmy Branagh laughs
[15:48] Myrtil Igaly scribbles a few words and glances interrogatively at Petra
[15:48] VI : i could go to the city and complain
[15:48] Petra Flax pretends to write
[15:48] VI : but not much else
[15:48] Becky Blackcinder: You made that up!
[15:48] Becky Blackcinder: Popplefots I mean.
And finally the last urchin interviewer, Zaida, arrived.
[15:48] Myrtil Igaly: Hey Zaida!
[15:48] Jimmy Branagh: Hoy Zaida
[15:48] Myrtil Igaly: You're lucky Miss Violet, lots of interviewers for you!
[15:48] Jimmy Branagh sails a piece of paper to Zaida
[15:48] Zaida Gearbox (zaida.gearbox): hi jim
[15:48] VI : hello Zaida
[15:48] Zaida Gearbox (zaida.gearbox): hi miz vi!
[15:48] Zaida Gearbox (zaida.gearbox): me an' miz vi used to be neighbors in wheatstone waterways
[15:48] VI : yes
[15:49] Myrtil Igaly: Alright, try to stay unbiased Zaida!
[15:49] Jimmy Branagh: Nah, Popplefot runs the shoe black factory!
[15:49] Jimmy Branagh: 'ee's fat loike a hippo!
[15:49] Zaida Gearbox (zaida.gearbox) looks for the piece of paper
[15:49] Myrtil Igaly: Are you satisfied with the answer Petra?
[15:50] Petra Flax : Not really no
[15:50] Myrtil Igaly: Oh
[15:50] Petra Flax : but if that's her answer...
[15:50] Petra Flax : heh
[15:50] VI : i am not exactly a slayer of Alligators
[15:50] Jimmy Branagh: Awlrought then. Becky
[15:50] Myrtil Igaly: Well, we'll discuss about that later, let's hear Becky's question
[15:51] Becky Blackcinder: Hmmmm...
[15:51] Jimmy Branagh scribbles note, adding odd cryptic symbols
[15:51] Zaida Gearbox (zaida.gearbox): i gots a question
[15:51] Jimmy Branagh: Wait yer turn
[15:51] Zaida Gearbox (zaida.gearbox) sticks tongue out
[15:51] Myrtil Igaly me giggles
[15:51] Petra Flax snickers
[15:51] Jimmy Branagh chuckles
[15:51] Becky Blackcinder: You knew about the hideout. Which is pretty gear. So...d'you know anything else about the city that could be useful to somebody like me? An' will you tell it to us?
[15:52] Myrtil Igaly nods and turns to Miss Violet, interested
[15:52] Petra Flax scribbles loops, impressed that they actually look like writing
[15:53] VI : wouldn't that be beyond the scope of the proffered position?
[15:53] Myrtil Igaly takes a glance at the other urchins' papers and looks impressed at all the writing on there
[15:53] Emma Walsh draws some stick figure alligators underneath Vi and points arrows saying 'not alligator slayer'
[15:53] Jimmy Branagh shrugs
[15:53] Zaida Gearbox (zaida.gearbox) doodles a bunny with an arrow through its head
[15:53] VI : would be willing to make a full exchange of information?
[15:53] Myrtil Igaly: Yes that's not demanded for the position, but we're not against a few extras!
[15:54] Jimmy Branagh: We're jus' pickin' yer brain, Miss VI. It's perfectly safe!
[15:54] Becky Blackcinder has apparently done the following doodle of Vi:
www.flickr.com/photos/annalisa_shepherd/23449967259/in/da...
[15:54] Petra Flax relights her pipe, looking down at her page, and then to the pages of the others.
[15:54] Becky Blackcinder looks proud
[15:55] Myrtil Igaly: There's no right or wrong answer, Miss Violet, we'll discuss later and decide. We may not even agree with each other ya know
[15:55] VI : true
[15:55] Becky Blackcinder: 'S true. Urchins ain't all that organized.
[15:55] Myrtil Igaly: Your turn Emma!
[15:55] Emma Walsh : Okay, this one should be easy.
[15:56] VI : more here than most
[15:56] Myrtil Igaly smiles at the compliment
[15:56] Emma Walsh : If you weren't a bunny what animal would you be instead? Your inner not bunny?
[15:56] Zaida Gearbox (zaida.gearbox) rolls eyes and shakes head
[15:56] Myrtil Igaly smirks
[15:57] Becky Blackcinder giggles.
Miss Solano stood up abruptly.
[15:57] VI : well i think we're at an end here
[15:57] Myrtil Igaly looks surprised
[15:57] Becky Blackcinder blinks.
[15:57] Myrtil Igaly: Are we?
[15:57] Jimmy Branagh: Hmm?
[15:57] Petra Flax raises her eyebrows
[15:57] Myrtil Igaly: What do you mean Miss Violet?
[15:57] Zaida Gearbox (zaida.gearbox): miz vi don't want to work for us?
[15:57] Zaida Gearbox (zaida.gearbox) offers miz vi a cookie
[15:57] VI : there is nothing better for me to be than a rabbit
[15:58] Myrtil Igaly: Oh
[15:58] Myrtil Igaly: Please don't be offended by the question, it was very innocent.
[15:58] Petra Flax : touch-eeeee
[15:58] Myrtil Igaly: Shhhh Petra!
[15:58] VI : to say other wise is preposterous, and rude
[15:58] Becky Blackcinder: I wish I was somethin' besides a human sometimes.
[15:58] Petra Flax snaps her mouth shut
[15:58] Becky Blackcinder: An' I do know a surprising number of mad scientists, so...
[15:59] VI : very well
Miss Solano sat back on the bench, facing the urchins.
[15:59] Myrtil Igaly: Very true Miss Violet, please forgive us for even thinking you would think otherwise
[15:59] Zaida Gearbox (zaida.gearbox): this is babbage knowing a mad scientist or 10 isn't surprising
[15:59] Zaida Gearbox (zaida.gearbox): if i could be a animal i'd be daisy my dog
[15:59] Zaida Gearbox (zaida.gearbox): then i could lay around in my bed all day
[15:59] Myrtil Igaly whispers to the others. "Ok, avoid the bunny questions!"
[15:59] Petra Flax nods
[15:59] VI : i suppose it would be a badger
[16:00] Myrtil Igaly blinks
[16:00] Emma Walsh : Badgers are awful buggers...
[16:00] Petra Flax : Badgers are pretty great
[16:00] Jimmy Branagh: Okay Zaida?
[16:00] Myrtil Igaly: They're fierce for sure
[16:00] Becky Blackcinder: Opinion is divided on badgers!
[16:00] VI : the ruling family of my home land are badger
[16:01] Zaida Gearbox (zaida.gearbox): miz vi - you a boss lady outside of hear, an' you sometimes employ urchins to carry messages an' packages..... how are you goin' to feel about havin' urchins bossin' you instead of you bossin' us
[16:01] Petra Flax : Good question.
[16:01] Myrtil Igaly hides a smile and dives onto her piece of paper, pencil at the ready
[16:02] VI : well that would depend on whether the orders are in conflict with my business
[16:02] Myrtil Igaly nods slowly
[16:03] Myrtil Igaly: Which would come first in that case?
[16:03] VI : that would depend on your requested action
[16:03] VI : it it was not within the scope of the job your offering
[16:04] VI : i would decline
[16:04] Myrtil Igaly: Understood
[16:04] VI : for example
[16:04] Petra Flax : What’s decline mean?
[16:04] VI : if you asked me to talk to tenk about something fine
[16:05] Myrtil Igaly whispers : that she says "no"
[16:05] VI : if you asked me to kill tenk
[16:05] Petra Flax : Oh
[16:05] VI : well that’s different
[16:05] Myrtil Igaly: Oh of course
[16:05] Petra Flax : Well jeez lady
[16:05] Myrtil Igaly: That wouldn't be something we would ask you to do.
[16:06] VI : of course not
[16:06] Myrtil Igaly: We merely need someone to represent us to deal with other grown-ups
[16:06] Myrtil Igaly: without those grown-ups knowing they're actually dealing with urchins
[16:06] Petra Flax : I mean beat in a sack with a hammer, maybe... but kill is kinda extreme
[16:06] Petra Flax : And what Myrtil said
[16:06] Myrtil Igaly rolls her eyes at Petra
[16:06] VI : and in that capacity i would
[16:06] Myrtil Igaly nods
[16:07] Myrtil Igaly: Here's my second question then.
[16:07] Petra Flax readies her pencil
[16:08] Myrtil Igaly: If you were working for us and we asked you to go talk to Miss Book and get an information about some secret Militia documents. How would you do it?
[16:08] VI : with great difficulty
[16:08] Myrtil Igaly laughs
[16:08] VI : we are not on the best of terms
[16:09] Myrtil Igaly: That's why I asked this question
[16:09] Myrtil Igaly smiles
[16:09] Myrtil Igaly starts drawing circles on her paper
[16:10] VI : and as to getting the information by less than honest means
[16:10] VI : your urchins are as capable as me in that regard
[16:11] Zaida Gearbox (zaida.gearbox) whispers: she paid me a whole dollar to stand around and yell HELLO MIZ BOOK if i seen her once
[16:11] Jimmy Branagh chuckles
[16:11] Myrtil Igaly: Maybe, but I would like to know how you would do it as an indication of what you would be able to do to deal with difficult missions
[16:11] Petra Flax : Depends on the urchin. Tubby ain’t much good at nothin.
[16:12] Jimmy Branagh: 'ee's good at eatin'. Everythin'!
[16:12] Petra Flax : And it was probably him that spilled the beans about this gig
[16:12] Petra Flax : Good point Jimmy.
[16:12] Myrtil Igaly: Tubby you think?
[16:13] Petra Flax nods
[16:13] VI : i would send one of my employees to retrieve the information
[16:13] Myrtil Igaly nods and scribbles
[16:13] Zaida Gearbox (zaida.gearbox): i ain't seen tubby in a long time. i thought creaky got him
[16:14] Jimmy Branagh scribbles
[16:14] Zaida Gearbox (zaida.gearbox) whispers: she'd pay an urchin to do it
[16:14] Petra Flax : That’d keep him fed for a while.
[16:14] VI : sadly the man that would be best at that retrieval is no longer available
[16:14] Jimmy Branagh: Finished, Myrtil?
[16:14] Myrtil Igaly: Yup, go ahead
[16:15] Jimmy Branagh: Miss VI, wos you in Babbage when the Dark Aether fell?
[16:15] VI : no
[16:15] Jimmy Branagh: Awlroight. Never moind then. Petra?
[16:15] Myrtil Igaly chuckles
[16:15] Jimmy Branagh scribbles
[16:16] Petra Flax : Well, I guess it’s no secret you’re sort villainy type… what sorta guarantee can we have that you won’t just lie about all this and do something that is to our detri- detrimu- uh… is bad for us?
[16:17] Petra Flax draws out a hangman, then fills in all the spaces with Xs
[16:17] Myrtil Igaly squints at Miss Violet, waiting for her reply
[16:17] VI : hmmmmmm
[16:17] VI : well that’s the rub isn't it
[16:18] Myrtil Igaly: We could write something about it in the contract, but the question is, do you respect contracts...
[16:18] Petra Flax : The rub?
[16:18] VI : since you consider me a villain, would you trust any promises i made anyway
[16:18] Petra Flax : Like for ribs?
[16:18] Zaida Gearbox (zaida.gearbox): maybe she wants her ears rubbed?
[16:18] Myrtil Igaly smiles at Zaida
[16:19] Zaida Gearbox (zaida.gearbox): gilly like him ears scratched
[16:19] Becky Blackcinder: I've known some trustworthy villians an' some good guys who lie a lot.
[16:19] Myrtil Igaly: That was a good question Petra. This is to take into consideration but it could go both directions anyway
[16:19] Zaida Gearbox (zaida.gearbox) nods in agreement with Becky
[16:19] VI : like that counterfeit count?
[16:19] Myrtil Igaly: Heh
[16:19] Zaida Gearbox (zaida.gearbox): doc O was a villain but him would keep him promises
[16:20] Zaida Gearbox (zaida.gearbox): 'course him usually promised to do bad things
[16:20] Petra Flax : Baloney? He's crackers.
[16:20] Myrtil Igaly: He is, but who isn't in this town?
[16:20] VI : i am a business woman and i hold to contracts
[16:20] Myrtil Igaly: Oh, that's good to know!
[16:20] Myrtil Igaly scribbles
[16:21] Petra Flax pretends to write again, nodding.
[16:21] Myrtil Igaly: Becky, another question?
[16:21] Emma Walsh draws a piece of paper in Vi's hands
[16:21] Becky Blackcinder hmmms. "Okay..."
[16:21] Myrtil Igaly: That's if you have one
[16:21] Myrtil Igaly: not mandatory
[16:21] Becky Blackcinder: Why d'you wanna work for us? What do you like about us? Or is it just a business thing?
[16:21] Jimmy Branagh: Let's move along folks! Get snappy!
[16:22] VI : mostly?
[16:22] Myrtil Igaly nods and turns her head towards Miss violet
[16:22] VI : because it benefits both of us
[16:23] Myrtil Igaly: The question would then be, how does it benefit you?
[16:23] VI : you get someone who can deal with the adults
[16:23] Myrtil Igaly: Right
[16:24] VI : and i get an alliance with the biggest information gathering force in the city
[16:24] Myrtil Igaly: Oh I see * grins*
[16:24] Myrtil Igaly scribbles
[16:25] Jimmy Branagh: Emma
[16:25] Petra Flax nudges Becky to nudge Emma
[16:25] Jimmy Branagh: EMMA!
[16:25] Emma Walsh : Do you have any credi.....proof of your expertise? Things that the adults look for in this town fer respect.
[16:26] Myrtil Igaly glances at Emma
[16:26] Becky Blackcinder scribbles some stuff down.
[16:27] VI : i have a successful business, i have money, i have made considerable donations to the fire brigade, and the militia
[16:27] Myrtil Igaly looks up, wide-eyed
[16:28] Emma Walsh : Errr....I guess that means you look good on paper!
[16:28] VI : yes
[16:28] Emma Walsh guesses that's the right saying and starts doodling dollar signs under her
[16:29] VI : and i helped with the recent Prometheus incident
[16:29] Jimmy Branagh: Zaida has the final question
[16:29] Zaida Gearbox (zaida.gearbox): you gave money to the militia even though miz book don't like you?
[16:29] Jimmy Branagh scribbles
[16:29] Myrtil Igaly scribbles too and starts to regret drawing circles as she's running out of space
[16:30] Zaida Gearbox (zaida.gearbox): ummmmm---- i guess that was my question
[16:30] VI : yes to give to the widows and orphans left by the Militia men that were murdered
[16:30] Zaida Gearbox (zaida.gearbox): oh ok
[16:30] Emma Walsh : Ohhhhh...
[16:30] Petra Flax : Huh.
[16:30] VI : i think she declined to pass it on
[16:30] Myrtil Igaly: That was your question Zaida?
[16:31] Zaida Gearbox (zaida.gearbox): how will you represent us as our embassador
[16:31] VI : well really that depends on what you have in mind
[16:32] VI : have you fully considered what you wish me to do?
[16:32] Petra Flax : Imagine a suit of armor filled with kids
[16:32] Myrtil Igaly starts to wonder what they got themselves into
[16:32] Zaida Gearbox (zaida.gearbox): i mean in helping us with our urchin grow'd up relations
[16:33] Zaida Gearbox (zaida.gearbox): we need a urchin grow'd ups relations office
[16:33] Myrtil Igaly: Yes, that's what we need, except secret one, not official
[16:33] VI : but are you expecting a person to foster better relations with the adults?
[16:33] VI : or just a bigger urchin?
[16:34] Zaida Gearbox (zaida.gearbox): isn't that what a embassador does?
[16:34] Jimmy Branagh: You would be representin' our interests.
[16:34] Petra Flax blinks
[16:34] Myrtil Igaly: To deal with adults who don't want to have nothing to do with us
[16:34] Myrtil Igaly: Have them think they're dealing with you except they're dealing with us
[16:35] Petra Flax : Yeah
[16:35] Jimmy Branagh: We figger 'avin' a representative would be better'n burnin' the' city down
[16:35] Myrtil Igaly chuckles
[16:35] VI : and that’s the thing, for me to do that job i'd need to show a proper front
[16:35] VI : so no activity's that could be seen as dishonest
[16:36] Myrtil Igaly: I s'pose we could be having business with both honest and dishonest grown-ups
[16:36] VI : you need what amounts to a business manager
[16:36] Myrtil Igaly: Hmmm
[16:37] Zaida Gearbox (zaida.gearbox) starts day dreaming about the new buffet at brunel as her tummy rumbles
[16:37] Myrtil Igaly: We're the business managers. What we need is someone willing to do what we tell them to do but also be crafty enough to find how to get the high hand in deals with other people
[16:38] Jimmy Branagh nods
[16:38] Petra Flax nods
[16:38] VI : in short a business manager
[16:38] VI : someone to manage your business with others
[16:39] Myrtil Igaly: Well yes, can call it like that.
[16:38] Myrtil Igaly looks at the other urchins. "Does anyone have another question?"
[16:39] Emma Walsh : Err...no...but I have one for you Myrt when we're done...
[16:39] Myrtil Igaly nods to Emma
[16:38] Petra Flax : Yeah, I got one more… gonna seem silly, but I got my reasons fed asking it. Ok… what’s yer favorite thing about Mayor Tenk?
[16:39] Zaida Gearbox (zaida.gearbox): is likin' tenk a job requirement?
[16:39] Petra Flax : Nope.
[16:39] Myrtil Igaly: won't be in the contract, but Petra has her reasons
[16:39] Petra Flax : Just a question.
[16:39] VI : my favorite thing about tenk
[16:39] Zaida Gearbox (zaida.gearbox): my favorite thing about tenk is him don't take no bullpoo
[16:40] VI : he stays out of other people’s business
[16:40] Myrtil Igaly smirks
[16:40] Petra Flax : Not you Zaida, Miss Vi
[16:40] Petra Flax : And thank you
[16:40] Becky Blackcinder: I like how he's not taller'n me.
[16:40] Myrtil Igaly giggles
[16:40] Zaida Gearbox (zaida.gearbox): imma shorter dan mr. tenk
[16:41] Myrtil Igaly: It's cause you're a shrimp Zaida!
[16:41] Zaida Gearbox (zaida.gearbox) makes rude gesture at myrtil
[16:40] Myrtil Igaly nods. "Thank you Miss Violet. Now would YOU have questions for us?"
[16:41] VI : well i do wonder if you have thought this position through?
[16:41] Myrtil Igaly: Oh yes, are you concerned about it Miss violet?
[16:41] VI : if you know what you need, over what you think you want
[16:42] Myrtil Igaly: We've talked about it, and will talk some more after the interviews. We'll decide as a group so there's always gonna be someone to say if they don't agree and why
[16:43] Jimmy Branagh writes more, and the number 423 next to it
[16:43] Myrtil Igaly: Which will make us think more and more until it's all good
[16:43] VI : if you hire a Representative to deal with the adults they will need to be very public
[16:43] Myrtil Igaly: Not necessarily.
[16:44] Zaida Gearbox (zaida.gearbox): we could hire two people
[16:44] Myrtil Igaly: Just have to look respectable enough or know how to make themselves look that way
[16:44] Zaida Gearbox (zaida.gearbox): someone to be our public face an' someone to be sneaky
[16:44] VI : no they will need to be public any interaction will become known
[16:44] Myrtil Igaly: And yes, we can also do that Zaida
[16:44] Petra Flax : That’s true
[16:45] VI : the action may not be seen to be connected to you but it will be seen by someone
[16:45] Zaida Gearbox (zaida.gearbox) looks confused
[16:45] Myrtil Igaly: Maybe what we would need is a few agents, or a master of disguise
[16:46] Myrtil Igaly: Or someone who can stay veeery discreet
[16:46] Petra Flax : I think she means the Great Builder....
[16:46] Zaida Gearbox (zaida.gearbox): can we hire miz book?
[16:46] Myrtil Igaly raises an eyebrow at Petra
[16:46] Zaida Gearbox (zaida.gearbox): nobody would ever suspect her
[16:46] Myrtil Igaly: Noooo Zaida, she'd never agree
[16:46] VI : take the Count i can see him bragging about every sneaky thing he does for you
[16:46] Emma Walsh laughs
[16:47] Zaida Gearbox (zaida.gearbox): yeah her all noble an' shi--stuff
[16:47] Myrtil Igaly: Well that's for us to judge Miss Violet.
[16:47] VI : as you wish
[16:47] Jimmy Branagh: We need a person capable of bein' both public, an' subtley behoind the scenes. Our shadow hand, as it were.
[16:47] Myrtil Igaly: I understand your concern and thank you for worrying, but we'll manage.
[16:47] Myrtil Igaly smiles
[16:48] Myrtil Igaly: Well I guess we're done if it's good for everyone?
[16:48] Zaida Gearbox (zaida.gearbox) whispers, "i think her right about the Count. him not rowin' wid both oars..."
[16:48] Becky Blackcinder smiles and nodnods.
[16:48] Jimmy Branagh nods
[16:48] Jimmy Branagh: Pass yer papers in please
[16:48] Petra Flax : Yep
[16:48] Emma Walsh : Well with Miss Vi yeah
[16:48] Myrtil Igaly: Miss Violet, thank you again for your time!
[16:48] Jimmy Branagh: Thenks Miss VI
[16:48] Jimmy Branagh smiles
[16:48] Myrtil Igaly: We will let you know our decision after we've made it.
[16:48] Emma Walsh : But need ter talk to you about Mr. Hyde.
[16:48] VI : you’re welcome
[16:48] Becky Blackcinder hands Jimmy her notes, which are mainly doodles.
[16:48] VI : but think well on what you really need
[16:48] Myrtil Igaly nods
[16:48] Myrtil Igaly: We will.
[16:49] Jimmy Branagh collects the sheet, wads them in the notebook and shoves the notebook into his coat
[16:49] Myrtil Igaly: Do you need to be walked back outside?
[16:49] VI : i think i can find my way
[16:49] Myrtil Igaly: Alright! Take care!
[16:49] Jimmy Branagh: 'Ave a good evenin' Miss!
[16: 49] VI : stands on the boards and waves and the men hiding on the roofs move off
[16: 49] Jimmy Branagh whistles, signalling the armed urchins watching from hidden position to stand down
[16:49] Emma Walsh : Hyde blabbed.
[16:49] Myrtil Igaly: Hyde?
[16:50] Emma Walsh : Mr. Hyde
[16:50] Emma Walsh : When we had our big meeting
[16:50] Becky Blackcinder: He would, wouldn't he?
[16:50] Emma Walsh : Discussing Creaky
[16:50] Emma Walsh : And the interviews
[16:50] Emma Walsh : He wasn't sworn to secrecy
[16:50] Myrtil Igaly: Oh yes, he totally would
[16:50] Myrtil Igaly: Dang it
[16:51] Emma Walsh : So he probably told his friends, who told everyone
[16:51] Myrtil Igaly: We gotta have a little chat with Mister Hyde...
[16:51] Becky Blackcinder: He has friends?
[16:51] Myrtil Igaly: hehe
[16:51] Emma Walsh : Err....must have some runnin mates
[16:51] Becky Blackcinder: I mostly only see him when he's passed out on Dr. Jekyll's couch.
[16:52] Myrtil Igaly: Yes not sure he's got many friends
[16:52] Emma Walsh : He's got enough drinking buddies
[16:53] Emma Walsh : And he was sharing some stuff when I stopped by the other night.
[16:53] Myrtil Igaly: Hah!
[16:53] Myrtil Igaly: you're probably right Emma
[16:54] Myrtil Igaly: and if that's him, we need to talk with him, for one, and never to allow him to our secret meetings anymore again
[16:54] Emma Walsh nods
And thus ended the third interview the urchins held to find a “grown-up ambassador”.
Got the old bike out - finally! Need to get it back into condition for the road, so I don't have to walk to everywhere! Ended up with a photo too. Troubled Tuesday? :-)
Hit L to view in lightbox
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© Wan Mekwi 2011 ~ Do no use without explicit permission
Thanks for stopping by my stream! Your comments, favourites and views are greatly appreciated. :)~
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New series about my feelings of seasons changes. And first one with gold topic «Lost summer».
Acrylic and spray at canvas. 40x50 cm. Varnished. 2020
Ludlow Castle
Heritage Category: Scheduled Monument
List Entry Number: 1004778
More information can be found on the link below:-
historicengland.org.uk/listing/the-list/list-entry/1004778
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Ludlow Castle, Castle Square, Ludlow, Shropshire
Ludlow Castle the standing structural remains
Heritage Category: Listed Building
Grade: I Listed
List Entry Number: 1291698
Summary
The standing structural remains of Ludlow Castle, an enclosure castle, begun in the late C11, and converted into a tower keep castle in the early C12.
Reasons for Designation
The standing structural remains of Ludlow Castle are listed at Grade I for the following principal reasons:
Historical: as one of England's finest castle sites, clearly showing its development from an enclosure castle into a tower keep castle in the C12; the castle played an important historical role particularly as seat of the President of the Council of the Marches; Architectural: the castle remains illustrate significant phases of development between the C11 and the C16; Survival: the buildings are in a ruinous condition, but nonetheless represent a remarkably complete multi-phase complex.
History
An enclosure castle is a defended residence or stronghold, built mainly of stone, in which the principal or sole defence comprises the walls and mural towers bounding the site. Enclosure castles, found in urban and in rural areas, were the strongly defended residence of the king or lord, sited for offensive or defensive operations, and often forming an administrative centre. Although such sites first appeared following the Norman Conquest, they really developed in the C12, incorporating defensive experience of the period, including that gained during the Crusades. Many enclosure castles were built in the C13, with a few dating from the C14, and Ludlow Castle is not alone in having begun as an enclosure castle and developed into a tower keep castle. At Ludlow, the large existing gate tower was converted into a tower keep in the early C12, providing more domestic accommodation, as well as defence.
Ludlow Castle occupies a commanding position at the steep-sided western end of a flat-topped ridge overlooking the valleys of the River Teme and the River Corve. The adjacent town of Ludlow, which was established by the mid-C12, lies to the south and east of the castle. The defences surrounding the medieval town are designated separately. The castle was probably founded by Walter de Lacy in about 1075 and served as the ‘caput' (the principal residence, military base and administrative centre) of the de Lacy estates in south Shropshire until the mid-C13. During the Anarchy of King Stephen's reign the castle was for Matilda until 1139, when it was besieged and captured by Stephen. The de Lacy family recovered the castle in the C12 and retained it, apart from occasional confiscations, until the death of Walter de Lacy in 1241. Ludlow Castle features in an ‘ancestral romance’ called ‘The Romance of Fulk FitzWarren', written in the late C13 about the adventures of a C13 knight. Other documentary sources indicate that when the castle was in royal control it was used for important meetings, such as that held in 1224 when Henry III made a treaty with the Welsh prince, Llewellyn. Following the death of Walter de Lacy in 1241 the castle came into the possession of the de Genevilles, and in the early C14, the castle passed through marriage to Roger Mortimer. Between 1327 and 1330 Roger Mortimer ruled England as Regent, with Edward II's widowed queen, Isabella. Mortimer had himself made Earl of March in 1328. In 1425 the Mortimer inheritance passed to Richard Plantagenet, Duke of York, who made Ludlow a favoured residence. His eldest son, who assumed the title of Earl of March, claimed the crown as Edward IV in 1461. Edward IV's son Edward was created Prince of Wales in 1471, and in 1473 was sent to Ludlow, where the administration of the principality known as the Council in the Marches was established. Both Edward and the Council remained at Ludlow until Edward IV's death in 1483. Ludlow Castle continued as an important royal residence and in 1493 the Council was re-established at Ludlow with Henry VII's son and heir, Prince Arthur as Prince of Wales. In 1501 Arthur was installed at Ludlow with his bride, Katherine of Aragon, and it was at Ludlow that Arthur died in 1502. In 1534 the Council in the Marches received statutory powers both to hear suits and to supervise and intervene in judicial proceedings in Wales and the Marches, and from that time until 1641, and again from 1660 to 1689, Ludlow's principal role was as the headquarters for the Council and, as such, the administrative capital of Wales and the border region. Milton’s mask, ‘Comus’, was first performed here in 1634 before John Egerton, 1st Earl of Bridgewater, in celebration of the earl’s new appointment as Lord President of Wales. On the dissolution of the Council the castle was abandoned and left to decay. Lead, window glass and panelling were soon removed for reuse in the town. In 1771, when the castle was leased to the Earl of Powis, many of the buildings were in ruins.
Since the late C18, the buildings have undergone repair and restoration at various times, as well as some further deterioration, with some rebuilding and replacement of stonework. Extensive archaeological excavations were undertaken by William St John Hope between 1903 and 1907. The castle is now open to the public.
Details
The standing structural remains of Ludlow Castle, an enclosure castle, begun in the late C11, and converted into a tower keep castle in the early C12.
MATERIALS: the castle is constructed of a variety of local stones; it appears that the greenish-grey flaggy calcerous siltstones that underlies the castle was used in its initial phase, with local sandstones being used thereafter.
PLAN: the castle consists of an elliptical INNER BAILEY, in the north-west corner of the site, representing the earliest area of development, with the OUTER BAILEY, created in the second half of the C12, to the south and east.
BUILDINGS:
The curtain wall of the inner bailey incorporates four mural towers and the former gatehouse, all thought to have been constructed by 1115. Three of the four towers are open at the back and would originally have contained wooden scaffolding supporting look-out and fighting platforms. The fourth tower, known as the POSTERN TOWER, on the western side of the enclosure, has small ground-floor postern doorways on its north and east sides. The former gatehouse, situated at the south-eastern part of the enclosure, is rectangular in plan and was originally three storeys in height. Remaining in the ground-floor of the building is part of a wall arcade, thought to be late-C11, with ornamented capitals. In the early C12 a fourth storey was added to provide more domestic accommodation, thus converting the gatehouse into a tower keep, known as the GREAT TOWER. In the later C12 the original gatehouse entrance passage was blocked (the location of the former arch remains visible on the south elevation) and an archway was cut through the adjacent part of the curtain wall to the north-east, reached by a stone bridge. This archway was partially infilled and a smaller arch constructed in the C14. Access to the upper floors of the tower is by a spiral stair to the east, reached by an ornamented doorcase, the Tudor arch having a trefoiled lintel flanked by cusped panelling and trefoiled lintel, which also gives access to rooms in the Judges’ Lodgings (see below). On the first floor is the hall, with a chamber and garderobe to the west. In the second half of the C15 the north wall of the Great Tower was rebuilt and internal floors added to create new rooms lit by enlarged windows. Adjoining the Great Tower, in the south-west section of the inner bailey, is the INMOST BAILEY, a walled enclosure constructed in the C12 and C13 to provide greater security and privacy to those living in the Great Tower. There is a well within this enclosure surrounded by a low stone wall.
Located in the north-eastern sector of the elliptical enclosure of the inner bailey are the remains of the CHAPEL OF ST MARY MAGDALENE. This was built in the first half of the C12, probably by Gilbert de Lacy, and was remodelled in the C16, probably in two phases. In the first phase, thought to have been undertaken circa 1502 for the installation of Arthur, Prince of Wales, a first floor was inserted in the circular nave, together with additional openings, including a first-floor doorway which gave access to a passage linking the chapel with the Great Chamber Block to the north. In the second phase, during the presidency of the Council in the Marches of Sir Henry Sidney (1560-86), the original presbytery and chancel were taken down and a new chancel, or chapel, built, stretching as far as the curtain wall. The crenellated circular nave, which measures 8.3m in diameter internally, survives to its full height as a roofless shell, and contains much original carving to the round-headed order arches of the door openings, with chevron and billet mouldings, and to the internal blind arcade with a variety of capitals and moulded arches.
Since the late C12, the castle site has been entered through the two-storeyed GATEHOUSE within the eastern part of the curtain wall of the outer bailey. The wall originally had two adjoining rectangular mural towers of which the one to the north of the gatehouse survives as a standing structure; this, together with the adjacent section of the curtain wall form part of the CASTLE HOUSE built in the C18 (listed separately at Grade I). Protruding from the curtain wall defining the western side of the outer bailey are the remains of a semi-circular tower known as MORTIMER'S TOWER, possibly built in the early C13; this originally consisted of a ground-floor entrance passage, with two floors above, and was used as the postern entrance to the outer bailey until the C15. In the south-west corner of the outer bailey are the remains of ST PETER’S CHAPEL, originally a free-standing rectangular structure, founded by Roger Mortimer to celebrate his escape from the Tower of London in 1324, following his rebellion against Edward II. The chapel served as the Court House and offices of the Council in the Marches, for which an adjacent building to the west was constructed. The south-east corner of the chapel is now attached to a wall which completes the enclosure of the outer bailey’s south-west corner. In the north wall of the chapel is a blocked two-light window, enlarged at the bottom when a floor was inserted for the court house; a second original window towards the eastern end now contains a first-floor blocked doorway.
At the end of the C13 or in the early C14 an extensive building programme was initiated, replacing existing structures within the inner bailey with a grand new range of domestic buildings, built along the inside of the north section of the Norman curtain wall. The construction of these new buildings indicates the changing role of Ludlow Castle from military stronghold to a more comfortable residence and a seat of political power, reflecting the more peaceful conditions in the region following the conquest of Wales by Edward I. The first buildings to be completed were the GREAT HALL and the adjoining SOLAR BLOCK (private apartments). The Great Hall, which was used for ceremonial and public occasions, consisted of a first floor over a large undercroft, reached through a moulded pointed arch in the south elevation. The Hall was lit on both south and north sides by three pointed-arched windows with sunk chamfers and ‘Y’ tracery formed of paired cusped trefoil-headed lights, under hoodmoulds; these originally had seats, now partially surviving. The central south window was converted to a fireplace, replacing the louver which formerly covered the open fire towards the east of the Hall, its position indicated by elaborate corbels. At the west end, a series of openings lead into the Solar Block, only one of these (that to the north) being of the primary phase. Within the Hall, at the western end, is a timber viewing platform, which is not of special interest.* The Solar Block is thought to have been begun as a two-storey building, and raised to three storeys shortly afterwards, at which time the adjacent NORTH-WEST TOWER was raised, with the new CLOSET TOWER being built in the angle between the two. Each of the three floors of the Solar Block extended into the North-West Tower, with each being linked to a room in the Closet Tower. All three floors of the Solar were heated, the ground floor having a fireplace which originally had a stone hood; the first-floor room has hooded fireplace, on nearly triangular-sectioned jambs; the room above has a plainer hooded fireplace. The windows include original openings with ‘Y’ tracery and trefoil-headed lights, similar to those in the Hall, and a ground-floor mullioned window probably dating from the late C16.
In the early C14 two additional buildings containing more private apartments were constructed by Richard Mortimer. The three-storeyed GREAT CHAMBER BLOCK was built in about 1320 next to the Great Hall to balance the Solar Block to the west of the Hall. The connecting four-storeyed GARDEROBE TOWER, which projects from the curtain wall of the inner bailey, was also probably built about the same time. As in the Hall and Solar blocks, the floors are now lost but features in the walls remain to indicate layout and function. The main entrance to this block is through a recessed doorway in the south-west corner, with a pointed two-light window above. The undercroft was heated, and is lit by two two-light windows with stone side seats in the south wall. The tracery of the eastern of these windows has been lost. The first-floor main room, or ‘Great Chamber’, contains a grand hooded fireplace carried on a fourfold series of corbels; to either side of the fireplace are large head corbels with leafwork. The Tudor transomed and mullioned window probably replaced an earlier window. The upper room also has a large hooded fireplace, and was lit principally by a large trefoil-headed window with head-stopped hoodmould in the southern wall.
Following the establishment of the headquarters for the Council in the Marches at Ludlow, new buildings were constructed and many existing buildings changed their use. Within the inner bailey the main room in the Great Chamber Block became the council chamber, with additional chambers above. A new adjoining residential block, now called the TUDOR LODGINGS, was built to the east, replacing earlier structures. The block consisted of two sets of lodgings both being of three storeys with attic rooms above. The south wall of this block cuts across openings in the east wall of the Great Chamber Block. Between the lodgings, projecting from the south wall, is a circular stair tower, entered through an ogee-headed arch. The windows in the south elevation are mullioned; several have been blocked. In the north wall of the western lodging, at ground-floor level, is an opening with double trefoil head, having a divided light above. Otherwise, the features of this range are plain, with pointed door openings, and straight lintels to fireplaces.
As the power of the Council grew, further domestic accommodation was needed. To the east of the entrance within the inner bailey, a three-storeyed range, known as the JUDGES LODGINGS, was completed in 1581. On the south side, this building extends the curtain wall upwards, with two gables, and piercing for fenestration, the earlier arched entrance to the inner bailey becoming visually part of the newer building, with rooms above; stone arms set immediately over the archway dated 1581 commemorate the Presidency of the Council of Sir Henry Sidney. Rooms set above the arch leave a gate-passage leading through a second archway to the inner bailey, and giving access to both the Great Keep and the Judges’ Lodgings. The rooms above the gate-passage appear to have been accessed by the embellished Tudor-arched doorway in the Keep at the north end of the passage. The north side of the Judges’ Lodgings, within the inner bailey, has a polygonal stair turret (which originally had a pyramidal roof), with mullioned and transomed eight-light windows set regularly to either side. Within, some indication is given of the arrangement and appearance of the rooms by the survival of numerous fireplaces of red sandstone backed by brick set in herringbone pattern. The adjoining building to the east, originally two-storeyed, is thought to date from the C17.
Other developments during the C16 included changes to the south-west corner tower, enclosed within the inmost bailey, with the installation of a large oven at ground-floor level, with residential rooms above; the tower became known as the OVEN TOWER. In 1522 the PORTER'S LODGE was built in the outer bailey to the south of the gatehouse. The shell of this building now contains the castle shop; the modern structure and fittings of the shop are not of special interest.* Also dating from 1522 is the PRISON, adjoining to the south, which retains square-headed windows with moulded frames and hoodmoulds, and the stable block, completed in 1597, with mullioned windows. Like the porter's lodge, these buildings remain as incomplete shells.
*Pursuant to s.1 (5A) of the Planning (Listed Buildings and Conservation Areas) Act 1990 ('the Act'), it is declared that these aforementioned features are not of special architectural or historic interest.
Sources
Books and journals
Cathcart-King, D J, Castellarium Anglicanum, (1983)
Goodall, J, The English Castle, 1066-1650, (2011)
H M Colvin, D R Ransome, The History of the KIng's Works, vol 3, (1975)
Kenyon, J, Castles in Wales and the Marches Essays in honour of DJ Cathcart King, (1987), 55-74
Pevsner, N, Newman, J, The Buildings of England: Shropshire, (2006)
R Allen Brown, H M Colvin, The History of the King's Works, vol 2, (1963)
Shoesmith, R, Johnson, A (eds), Ludlow Castle. Its History and Buildings, (2000)
'' in Archaeological Investigations Ltd, Hereford archaeology series, (1991)
W. H. St John Hope, , 'Archaeologia' in The Castle of Ludlow, (1908)
Other
Pastscape Monument No. 111057,
Shropshire HER 01176,
historicengland.org.uk/listing/the-list/list-entry/1291698
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Ludlow Castle, Castle Square, Ludlow, Shropshire
Construction of Ludlow Castle began in the late 11th century by the de Lacy's and held by them until the 13th century. In the 14th century it was enlarged by the Mortimers. In the 15th century ownership transferred between the House of York and Lancashire during the War of the Roses. In Elizabethan times the castle was further extended by Sir Henry Sidney. After the civil war the castle declined. It is now owned by the Earl of Powys for the crown.
Grade I listed.
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Welcome to Ludlow Castle, one of the finest medieval ruins in England. Set in the glorious Shropshire countryside at the heart of the superb, bustling black & white market town of Ludlow. Walk through the Castle grounds and see the ancient houses of kings, queens, princes, judges and the nobility – a glimpse into the lifestyle of medieval society
The Castle, firstly a Norman Fortress and extended over the centuries to become a fortified Royal Palace, has ensured Ludlow’s place in English history – originally built to hold back unconquered Welsh, passing through generations of the de Lacy and Mortimer families to Richard Plantagenet, Duke of York. It became Crown property in 1461 and remained a royal castle for the next 350 years, during which time the Council of the Marches was formed with responsibility for the Government of Wales and the border counties. Abandoned in 1689 the castle quickly fell into ruin, described as ‘the very perfection of decay’ by Daniel Defoe
Since 1811 the castle has been owned by the Earls of Powis, who have arrested further decline, and allowed this magnificent historical monument to be open to the public. Today the Castle is the home to Ludlow’s major festivals throughout the year and open for all to enjoy.
www.ludlowcastle.com/the-castle/
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See also:-
www.britainirelandcastles.com/England/Shropshire/Ludlow-C...
This particular Popular 103E was in brilliant condition when it was spotted as an exhibit at the 2014 Crich Tramway Village, Classic Transport Gathering on Sunday the 24th of August 2014. This particular Ford was made back in 1955 and it was first registered in the UK, in the same year, on the 8th of October 1955 so it has presumably been in the UK for all of its life. This one does have its original engine according to the DVLA, a 1.2 Litre (1172cc) Straight-Four Side-Valve engine which runs on petrol. This particular car, when seen, was owned by Len and Muriel Shorthouse of Ross-on-Wye, Herefordshire, who were the fourth owners. The car was first registered to Mr. Reginald Peach of Coventry after being completed on the 1st of July 1955 at the Doncaster Briggs Works in Yorkshire. It has a number of extras from the standard Pop, such included, a Ford radio, trafficators, oil bath air cleaner, windscreen washer unit and others.
All you need to make this DIY spot cooler is a bucket, some PVC pipe, a fan, and ice, reusable ice packs, and a frozen gallon jug of water—the homemade air conditioner was able to lower the temperature of a small room by only 2° to 3° F, and within 30 minutes the room temperature began to rise again.
The frozen jug of water was the best for cooling, apparently because it allows enough air to circulate around the jug to sufficiently cool it. And while the ice cubes initially produced the lowest air temperature, once they started melting the temperature measured outside the duct (pipe or cup) wasn’t much different than the room temperature. Again, the room temperature began to rise in 30 minutes.
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The condition of these two have not got any better since my last photo. After I took this photo the tire under the bumper was removed.
For some reason, the rear window of the blue 190 was removed..
Location: EDSA Kamias, Quezon City
Bus Optr/Owner: Kellen Transport Inc.
Bus No: 471820
Classification: Air Conditioned
Area of Operation: City Operation
Model: Golden Dragon XML6125J28C Low Entry
Body: Xiamen Golden Dragon Bus Co. Ltd. / Transoriental Motor Builders Inc.
Seating Configuration: 2x3 & 2x2 with side seats
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I recently experienced an event of AF (Atrial Fibrillation, i.e. a rather serious kind of cardiac arrhythmia or disturbance in the rate of the heartbeat). Several tests for my heart’s condition are currently well underway.
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The Mahabharata or Mahābhārata (US /məhɑːˈbɑrətə/; UK /ˌmɑːhəˈbɑːrətə/; Sanskrit: महाभारतम्, Mahābhāratam, pronounced [məɦaːˈbʱaːrət̪əm]) is one of the two major Sanskrit epics of ancient India, the other being the Ramayana.
Besides its epic narrative of the Kurukshetra War and the fates of the Kaurava and the Pandava princes, the Mahabharata contains philosophical and devotional material, such as a discussion of the four "goals of life" or purusharthas (12.161). Among the principal works and stories in the Mahabharata are the Bhagavad Gita, the story of Damayanti, an abbreviated version of the Ramayana, and the Rishyasringa, often considered as works in their own right.
Traditionally, the authorship of the Mahabharata is attributed to Vyasa. There have been many attempts to unravel its historical growth and compositional layers. The oldest preserved parts of the text are thought to be not much older than around 400 BCE, though the origins of the epic probably fall between the 8th and 9th centuries BCE. The text probably reached its final form by the early Gupta period (c. 4th century CE). The title may be translated as "the great tale of the Bhārata dynasty". According to the Mahabharata itself, the tale is extended from a shorter version of 24,000 verses called simply Bhārata.
The Mahabharata is the longest known epic poem and has been described as "the longest poem ever written". Its longest version consists of over 100,000 shloka or over 200,000 individual verse lines (each shloka is a couplet), and long prose passages. About 1.8 million words in total, the Mahabharata is roughly ten times the length of the Iliad and the Odyssey combined, or about four times the length of the Ramayana. W. J. Johnson has compared the importance of the Mahabharata to world civilization to that of the Bible, the works of Shakespeare, the works of Homer, Greek drama, or the Qur'an.
TEXTURAL HISTORY AND STRUCTURE
The epic is traditionally ascribed to the sage Vyasa, who is also a major character in the epic. Vyasa described it as being itihāsa (history). He also describes the Guru-shishya parampara, which traces all great teachers and their students of the Vedic times.
The first section of the Mahabharata states that it was Ganesha who wrote down the text to Vyasa's dictation. Ganesha is said to have agreed to write it only if Vyasa never paused in his recitation. Vyasa agrees on condition that Ganesha takes the time to understand what was said before writing it down.
The epic employs the story within a story structure, otherwise known as frametales, popular in many Indian religious and non-religious works. It is recited by the sage Vaisampayana, a disciple of Vyasa, to the King Janamejaya who is the great-grandson of the Pandava prince Arjuna. The story is then recited again by a professional storyteller named Ugrasrava Sauti, many years later, to an assemblage of sages performing the 12-year sacrifice for the king Saunaka Kulapati in the Naimisha Forest.
The text has been described by some early 20th-century western Indologists as unstructured and chaotic. Hermann Oldenberg supposed that the original poem must once have carried an immense "tragic force" but dismissed the full text as a "horrible chaos." Moritz Winternitz (Geschichte der indischen Literatur 1909) considered that "only unpoetical theologists and clumsy scribes" could have lumped the parts of disparate origin into an unordered whole.
ACCRETION AND REDACTION
Research on the Mahabharata has put an enormous effort into recognizing and dating layers within the text. Some elements of the present Mahabharata can be traced back to Vedic times. The background to the Mahabharata suggests the origin of the epic occurs "after the very early Vedic period" and before "the first Indian 'empire' was to rise in the third century B.C." That this is "a date not too far removed from the 8th or 9th century B.C." is likely. It is generally agreed that "Unlike the Vedas, which have to be preserved letter-perfect, the epic was a popular work whose reciters would inevitably conform to changes in language and style," so the earliest 'surviving' components of this dynamic text are believed to be no older than the earliest 'external' references we have to the epic, which may include an allusion in Panini's 4th century BCE grammar Ashtādhyāyī 4:2:56. It is estimated that the Sanskrit text probably reached something of a "final form" by the early Gupta period (about the 4th century CE). Vishnu Sukthankar, editor of the first great critical edition of the Mahabharata, commented: "It is useless to think of reconstructing a fluid text in a literally original shape, on the basis of an archetype and a stemma codicum. What then is possible? Our objective can only be to reconstruct the oldest form of the text which it is possible to reach on the basis of the manuscript material available." That manuscript evidence is somewhat late, given its material composition and the climate of India, but it is very extensive.
The Mahabharata itself (1.1.61) distinguishes a core portion of 24,000 verses: the Bharata proper, as opposed to additional secondary material, while the Ashvalayana Grhyasutra (3.4.4) makes a similar distinction. At least three redactions of the text are commonly recognized: Jaya (Victory) with 8,800 verses attributed to Vyasa, Bharata with 24,000 verses as recited by Vaisampayana, and finally the Mahabharata as recited by Ugrasrava Sauti with over 100,000 verses. However, some scholars such as John Brockington, argue that Jaya and Bharata refer to the same text, and ascribe the theory of Jaya with 8,800 verses to a misreading of a verse in Adiparvan (1.1.81). The redaction of this large body of text was carried out after formal principles, emphasizing the numbers 18 and 12. The addition of the latest parts may be dated by the absence of the Anushasana-parva and the Virata parva from the "Spitzer manuscript". The oldest surviving Sanskrit text dates to the Kushan Period (200 CE).
According to what one character says at Mbh. 1.1.50, there were three versions of the epic, beginning with Manu (1.1.27), Astika (1.3, sub-parva 5) or Vasu (1.57), respectively. These versions would correspond to the addition of one and then another 'frame' settings of dialogues. The Vasu version would omit the frame settings and begin with the account of the birth of Vyasa. The astika version would add the sarpasattra and ashvamedha material from Brahmanical literature, introduce the name Mahabharata, and identify Vyasa as the work's author. The redactors of these additions were probably Pancharatrin scholars who according to Oberlies (1998) likely retained control over the text until its final redaction. Mention of the Huna in the Bhishma-parva however appears to imply that this parva may have been edited around the 4th century.
The Adi-parva includes the snake sacrifice (sarpasattra) of Janamejaya, explaining its motivation, detailing why all snakes in existence were intended to be destroyed, and why in spite of this, there are still snakes in existence. This sarpasattra material was often considered an independent tale added to a version of the Mahabharata by "thematic attraction" (Minkowski 1991), and considered to have a particularly close connection to Vedic (Brahmana) literature. The Panchavimsha Brahmana (at 25.15.3) enumerates the officiant priests of a sarpasattra among whom the names Dhrtarashtra and Janamejaya, two main characters of the Mahabharata's sarpasattra, as well as Takshaka, the name of a snake in the Mahabharata, occur.
HISTORICAL REFERENCES
The earliest known references to the Mahabharata and its core Bharata date to the Ashtadhyayi (sutra 6.2.38) of Pāṇini (fl. 4th century BCE) and in the Ashvalayana Grhyasutra (3.4.4). This may suggest that the core 24,000 verses, known as the Bharata, as well as an early version of the extended Mahabharata, were composed by the 4th century BCE.
A report by the Greek writer Dio Chrysostom (c. 40 - c. 120 CE) about Homer's poetry being sung even in India seems to imply that the Iliad had been translated into Sanskrit. However, scholars have, in general, taken this as evidence for the existence of a Mahabharata at this date, whose episodes Dio or his sources identify with the story of the Iliad.
Several stories within the Mahabharata took on separate identities of their own in Classical Sanskrit literature. For instance, Abhijñānashākuntala by the renowned Sanskrit poet Kālidāsa (c. 400 CE), believed to have lived in the era of the Gupta dynasty, is based on a story that is the precursor to the Mahabharata. Urubhanga, a Sanskrit play written by Bhāsa who is believed to have lived before Kālidāsa, is based on the slaying of Duryodhana by the splitting of his thighs by Bhima.
The copper-plate inscription of the Maharaja Sharvanatha (533–534 CE) from Khoh (Satna District, Madhya Pradesh) describes the Mahabharata as a "collection of 100,000 verses" (shatasahasri samhita).
HISTORICAL CONTEXT
The historicity of the Kurukshetra War is unclear. Many historians estimate the date of the Kurukshetra war to Iron Age India of the 10th century BCE. The setting of the epic has a historical precedent in Iron Age (Vedic) India, where the Kuru kingdom was the center of political power during roughly 1200 to 800 BCE. A dynastic conflict of the period could have been the inspiration for the Jaya, the foundation on which the Mahabharata corpus was built, with a climactic battle eventually coming to be viewed as an epochal event.
Puranic literature presents genealogical lists associated with the Mahabharata narrative. The evidence of the Puranas is of two kinds. Of the first kind, there is the direct statement that there were 1015 (or 1050) years between the birth of Parikshit (Arjuna's grandson) and the accession of Mahapadma Nanda (400-329 BCE), which would yield an estimate of about 1400 BCE for the Bharata battle. However, this would imply improbably long reigns on average for the kings listed in the genealogies. Of the second kind are analyses of parallel genealogies in the Puranas between the times of Adhisimakrishna (Parikshit's great-grandson) and Mahapadma Nanda. Pargiter accordingly estimated 26 generations by averaging 10 different dynastic lists and, assuming 18 years for the average duration of a reign, arrived at an estimate of 850 BCE for Adhisimakrishna, and thus approximately 950 BCE for the Bharata battle.
B. B. Lal used the same approach with a more conservative assumption of the average reign to estimate a date of 836 BCE, and correlated this with archaeological evidence from Painted Grey Ware sites, the association being strong between PGW artifacts and places mentioned in the epic.
Attempts to date the events using methods of archaeoastronomy have produced, depending on which passages are chosen and how they are interpreted, estimates ranging from the late 4th to the mid-2nd millennium BCE. The late 4th millennium date has a precedent in the calculation of the Kaliyuga epoch, based on planetary conjunctions, by Aryabhata (6th century). Aryabhatta's date of February 18 3102 BCE for Mahabharata war has become widespread in Indian tradition. Coincidentally, this marks the disppearance of Krishna from earth from many source.[36] The Aihole inscription of Pulikeshi II, dated to Saka 556 = 634 CE, claims that 3735 years have elapsed since the Bharata battle, putting the date of Mahabharata war at 3137 BCE. Another traditional school of astronomers and historians, represented by Vriddha-Garga, Varahamihira (author of the Brhatsamhita) and Kalhana (author of the Rajatarangini), place the Bharata war 653 years after the Kaliyuga epoch, corresponding to 2449 BCE.
SYNOPSIS
The core story of the work is that of a dynastic struggle for the throne of Hastinapura, the kingdom ruled by the Kuru clan. The two collateral branches of the family that participate in the struggle are the Kaurava and the Pandava. Although the Kaurava is the senior branch of the family, Duryodhana, the eldest Kaurava, is younger than Yudhisthira, the eldest Pandava. Both Duryodhana and Yudhisthira claim to be first in line to inherit the throne.
The struggle culminates in the great battle of Kurukshetra, in which the Pandavas are ultimately victorious. The battle produces complex conflicts of kinship and friendship, instances of family loyalty and duty taking precedence over what is right, as well as the converse.
The Mahabharata itself ends with the death of Krishna, and the subsequent end of his dynasty and ascent of the Pandava brothers to heaven. It also marks the beginning of the Hindu age of Kali Yuga, the fourth and final age of mankind, in which great values and noble ideas have crumbled, and man is heading towards the complete dissolution of right action, morality and virtue.
THE OLDER GENERATIONS
King Janamejaya's ancestor Shantanu, the king of Hastinapura, has a short-lived marriage with the goddess Ganga and has a son, Devavrata (later to be called Bhishma, a great warrior), who becomes the heir apparent. Many years later, when King Shantanu goes hunting, he sees Satyavati, the daughter of the chief of fisherman, and asks her father for her hand. Her father refuses to consent to the marriage unless Shantanu promises to make any future son of Satyavati the king upon his death. To resolve his father's dilemma, Devavrata agrees to relinquish his right to the throne. As the fisherman is not sure about the prince's children honouring the promise, Devavrata also takes a vow of lifelong celibacy to guarantee his father's promise.
Shantanu has two sons by Satyavati, Chitrāngada and Vichitravirya. Upon Shantanu's death, Chitrangada becomes king. He lives a very short uneventful life and dies. Vichitravirya, the younger son, rules Hastinapura. Meanwhile, the King of Kāśī arranges a swayamvara for his three daughters, neglecting to invite the royal family of Hastinapur. In order to arrange the marriage of young Vichitravirya, Bhishma attends the swayamvara of the three princesses Amba, Ambika and Ambalika, uninvited, and proceeds to abduct them. Ambika and Ambalika consent to be married to Vichitravirya.
The oldest princess Amba, however, informs Bhishma that she wishes to marry king of Shalva whom Bhishma defeated at their swayamvara. Bhishma lets her leave to marry king of Shalva, but Shalva refuses to marry her, still smarting at his humiliation at the hands of Bhishma. Amba then returns to marry Bhishma but he refuses due to his vow of celibacy. Amba becomes enraged and becomes Bhishma's bitter enemy, holding him responsible for her plight. Later she is reborn to King Drupada as Shikhandi (or Shikhandini) and causes Bhishma's fall, with the help of Arjuna, in the battle of Kurukshetra.
THE PANDAVA AND KAURAVA PRINCES
When Vichitravirya dies young without any heirs, Satyavati asks her first son Vyasa to father children with the widows. The eldest, Ambika, shuts her eyes when she sees him, and so her son Dhritarashtra is born blind. Ambalika turns pale and bloodless upon seeing him, and thus her son Pandu is born pale and unhealthy (the term Pandu may also mean 'jaundiced'). Due to the physical challenges of the first two children, Satyavati asks Vyasa to try once again. However, Ambika and Ambalika send their maid instead, to Vyasa's room. Vyasa fathers a third son, Vidura, by the maid. He is born healthy and grows up to be one of the wisest characters in the Mahabharata. He serves as Prime Minister (Mahamantri or Mahatma) to King Pandu and King Dhritarashtra.
When the princes grow up, Dhritarashtra is about to be crowned king by Bhishma when Vidura intervenes and uses his knowledge of politics to assert that a blind person cannot be king. This is because a blind man cannot control and protect his subjects. The throne is then given to Pandu because of Dhritarashtra's blindness. Pandu marries twice, to Kunti and Madri. Dhritarashtra marries Gandhari, a princess from Gandhara, who blindfolds herself so that she may feel the pain that her husband feels. Her brother Shakuni is enraged by this and vows to take revenge on the Kuru family. One day, when Pandu is relaxing in the forest, he hears the sound of a wild animal. He shoots an arrow in the direction of the sound. However the arrow hits the sage Kindama, who curses him that if he engages in a sexual act, he will die. Pandu then retires to the forest along with his two wives, and his brother Dhritarashtra rules thereafter, despite his blindness.
Pandu's older queen Kunti, however, had been given a boon by Sage Durvasa that she could invoke any god using a special mantra. Kunti uses this boon to ask Dharma the god of justice, Vayu the god of the wind, and Indra the lord of the heavens for sons. She gives birth to three sons, Yudhisthira, Bhima, and Arjuna, through these gods. Kunti shares her mantra with the younger queen Madri, who bears the twins Nakula and Sahadeva through the Ashwini twins. However, Pandu and Madri indulge in sex, and Pandu dies. Madri dies on his funeral pyre out of remorse. Kunti raises the five brothers, who are from then on usually referred to as the Pandava brothers.
Dhritarashtra has a hundred sons through Gandhari, all born after the birth of Yudhishtira. These are the Kaurava brothers, the eldest being Duryodhana, and the second Dushasana. Other Kaurava brothers were Vikarna and Sukarna. The rivalry and enmity between them and the Pandava brothers, from their youth and into manhood, leads to the Kurukshetra war.
LAKSHAGRAHA (THE HOUSE OF LAC)
After the deaths of their mother (Madri) and father (Pandu), the Pandavas and their mother Kunti return to the palace of Hastinapur. Yudhisthira is made Crown Prince by Dhritarashtra, under considerable pressure from his kingdom. Dhritarashtra wanted his own son Duryodhana to become king and lets his ambition get in the way of preserving justice.
Shakuni, Duryodhana and Dusasana plot to get rid of the Pandavas. Shakuni calls the architect Purochana to build a palace out of flammable materials like lac and ghee. He then arranges for the Pandavas and the Queen Mother Kunti to stay there, with the intention of setting it alight. However, the Pandavas are warned by their wise uncle, Vidura, who sends them a miner to dig a tunnel. They are able to escape to safety and go into hiding. Back at Hastinapur, the Pandavas and Kunti are presumed dead.
MARRIAGE TO DRAUPADI
Whilst they were in hiding the Pandavas learn of a swayamvara which is taking place for the hand of the Pāñcāla princess Draupadī. The Pandavas enter the competition in disguise as Brahmins. The task is to string a mighty steel bow and shoot a target on the ceiling, which is the eye of a moving artificial fish, while looking at its reflection in oil below. Most of the princes fail, many being unable to lift the bow. Arjuna succeeds however. The Pandavas return home and inform their mother that Arjuna has won a competition and to look at what they have brought back. Without looking, Kunti asks them to share whatever it is Arjuna has won among themselves. On explaining the previous life of Draupadi, she ends up being the wife of all five brothers.
INDRAPRASTHA
After the wedding, the Pandava brothers are invited back to Hastinapura. The Kuru family elders and relatives negotiate and broker a split of the kingdom, with the Pandavas obtaining a new territory. Yudhishtira has a new capital built for this territory at Indraprastha. Neither the Pandava nor Kaurava sides are happy with the arrangement however.
Shortly after this, Arjuna elopes with and then marries Krishna's sister, Subhadra. Yudhishtira wishes to establish his position as king; he seeks Krishna's advice. Krishna advises him, and after due preparation and the elimination of some opposition, Yudhishthira carries out the rājasūya yagna ceremony; he is thus recognised as pre-eminent among kings.
The Pandavas have a new palace built for them, by Maya the Danava. They invite their Kaurava cousins to Indraprastha. Duryodhana walks round the palace, and mistakes a glossy floor for water, and will not step in. After being told of his error, he then sees a pond, and assumes it is not water and falls in. Draupadi laughs at him and ridicules him by saying that this is because of his blind father Dhritrashtra. He then decides to avenge his humiliation.
THE DICE GAME
Shakuni, Duryodhana's uncle, now arranges a dice game, playing against Yudhishtira with loaded dice. Yudhishtira loses all his wealth, then his kingdom. He then even gambles his brothers, himself, and finally his wife into servitude. The jubilant Kauravas insult the Pandavas in their helpless state and even try to disrobe Draupadi in front of the entire court, but her honour is saved by Krishna who miraculously creates lengths of cloth to replace the ones being removed.
Dhritarashtra, Bhishma, and the other elders are aghast at the situation, but Duryodhana is adamant that there is no place for two crown princes in Hastinapura. Against his wishes Dhritarashtra orders for another dice game. The Pandavas are required to go into exile for 12 years, and in the 13th year must remain hidden. If discovered by the Kauravas, they will be forced into exile for another 12 years.
EXILE AND RETURN
The Pandavas spend thirteen years in exile; many adventures occur during this time. They also prepare alliances for a possible future conflict. They spend their final year in disguise in the court of Virata, and are discovered just after the end of the year.
At the end of their exile, they try to negotiate a return to Indraprastha. However, this fails, as Duryodhana objects that they were discovered while in hiding, and that no return of their kingdom was agreed. War becomes inevitable.
THE BATTLE AT KURUKSHETRA
The two sides summon vast armies to their help and line up at Kurukshetra for a war. The kingdoms of Panchala, Dwaraka, Kasi, Kekaya, Magadha, Matsya, Chedi, Pandyas, Telinga, and the Yadus of Mathura and some other clans like the Parama Kambojas were allied with the Pandavas. The allies of the Kauravas included the kings of Pragjyotisha, Anga, Kekaya, Sindhudesa (including Sindhus, Sauviras and Sivis), Mahishmati, Avanti in Madhyadesa, Madra, Gandhara, Bahlika people, Kambojas and many others. Before war being declared, Balarama had expressed his unhappiness at the developing conflict and left to go on pilgrimage; thus he does not take part in the battle itself. Krishna takes part in a non-combatant role, as charioteer for Arjuna.
Before the battle, Arjuna, seeing the opposing army includes many relatives and loved ones, including his great grandfather Bhishma and his teacher Drona, has doubts about the battle and he fails to lift his Gāndeeva bow. Krishna wakes him up to his call of duty in the famous Bhagavad Gita section of the epic.
Though initially sticking to chivalrous notions of warfare, both sides soon adopt dishonourable tactics. At the end of the 18-day battle, only the Pandavas, Satyaki, Kripa, Ashwatthama, Kritavarma, Yuyutsu and Krishna survive.
THE END OF THE PANDAVAS
After "seeing" the carnage, Gandhari, who had lost all her sons, curses Krishna to be a witness to a similar annihilation of his family, for though divine and capable of stopping the war, he had not done so. Krishna accepts the curse, which bears fruit 36 years later.
The Pandavas, who had ruled their kingdom meanwhile, decide to renounce everything. Clad in skins and rags they retire to the Himalaya and climb towards heaven in their bodily form. A stray dog travels with them. One by one the brothers and Draupadi fall on their way. As each one stumbles, Yudhisthira gives the rest the reason for their fall (Draupadi was partial to Arjuna, Nakula and Sahadeva were vain and proud of their looks, and Bhima and Arjuna were proud of their strength and archery skills, respectively). Only the virtuous Yudhisthira, who had tried everything to prevent the carnage, and the dog remain. The dog reveals himself to be the god Yama (also known as Yama Dharmaraja), and then takes him to the underworld where he sees his siblings and wife. After explaining the nature of the test, Yama takes Yudhishthira back to heaven and explains that it was necessary to expose him to the underworld because (Rajyante narakam dhruvam) any ruler has to visit the underworld at least once. Yama then assures him that his siblings and wife would join him in heaven after they had been exposed to the underworld for measures of time according to their vices.
Arjuna's grandson Parikshit rules after them and dies bitten by a snake. His furious son, Janamejaya, decides to perform a snake sacrifice (sarpasattra) in order to destroy the snakes. It is at this sacrifice that the tale of his ancestors is narrated to him.
THE REUNION
The Mahabharata mentions that Karna, the Pandavas, and Dhritarashtra's sons eventually ascended to svarga and "attained the state of the gods" and banded together — "serene and free from anger."
THEMES
JUST WAR
The Mahabharata offers one of the first instances of theorizing about "just war", illustrating many of the standards that would be debated later across the world. In the story, one of five brothers asks if the suffering caused by war can ever be justified. A long discussion ensues between the siblings, establishing criteria like proportionality (chariots cannot attack cavalry, only other chariots; no attacking people in distress), just means (no poisoned or barbed arrows), just cause (no attacking out of rage), and fair treatment of captives and the wounded.
Versions, translations, and derivative works.
CRITICAL EDITION
Between 1919 and 1966, scholars at the Bhandarkar Oriental Research Institute, Pune, compared the various manuscripts of the epic from India and abroad and produced the Critical Edition of the Mahabharata, on 13,000 pages in 19 volumes, followed by the Harivamsha in another two volumes and six index volumes. This is the text that is usually used in current Mahabharata studies for reference. This work is sometimes called the "Pune" or "Poona" edition of the Mahabharata.
REGIONAL VERSIONS
Many regional versions of the work developed over time, mostly differing only in minor details, or with verses or subsidiary stories being added. These include the Tamil street theatre, terukkuttu and kattaikkuttu, the plays of which use themes from the Tamil language versions of Mahabharata, focusing on Draupadi.
Outside the Indian subcontinent, in Indonesia, a version was developed in ancient Java as Kakawin Bhāratayuddha in the 11th century under the patronage of King Dharmawangsa (990–1016), and later it spread to neighboring island of Bali where today remains a Hindu majority island, despite today Indonesia is the most populous Muslim majority nation. It has become the fertile source for Javanese literature, dance drama (wayang wong), and wayang shadow puppet performances. This Javanese version differ slightly from the original Indian version. For example Draupadi is only be wed to Yudhisthira, not to the entire Pandavas brothers, this might demonstrate ancient Javanese opposition of polyandry practice. The author later added some female characters to be wed to the Pandavas. Arjuna for example is described as having many wives and consorts next to Subhadra. Another difference is Shikhandi did not undergone sex change and remains as a woman, to be wed to Arjuna, and took the role as a warrior princess during the war. Another twist is Gandhari was described as antagonist character that hates Pandava so much. Her hate was out of jealousy, because during svayambara for the hand of Gandhari, she was actually in love with Pandu, but later being wed to his blind elder brother instead, whom she does not love, as a protest she then blindfold herself. Another notable difference is the inclusion of Punakawans, the clown servants of the main characters in the storyline, which is not found in Indian version. This characters includes Semar, Petruk, Gareng and Bagong, they are much-loved by Indonesian audiences. There are some spin-off episode developed in ancient Java, such as Arjunawiwaha composed in 11th century.
A Kawi version of the Mahabharata, of which eight of the eighteen parvas survive, is found on the Indonesian island of Bali. It has been translated into English by Dr. I. Gusti Putu Phalgunadi.
TRANSLATIONS
A Persian translation of Mahabharta, titled Razmnameh, was produced at Akbar's orders, by Faizi and `Abd al-Qadir Bada'uni in the 18th century.
The first complete English translation was the Victorian prose version by Kisari Mohan Ganguli, published between 1883 and 1896 (Munshiram Manoharlal Publishers) and by M. N. Dutt (Motilal Banarsidass Publishers). Most critics consider the translation by Ganguli to be faithful to the original text. The complete text of Ganguli's translation is in the public domain and is available online.
Another English prose translation of the full epic, based on the Critical Edition, is in progress, published by University Of Chicago Press. It was initiated by Indologist J. A. B. van Buitenen (books 1–5) and, following a 20-year hiatus caused by the death of van Buitenen, is being continued by D. Gitomer of DePaul University (book 6), J. L. Fitzgerald of Brown University (books 11–13) and Wendy Doniger of the University of Chicago (books 14–18).
An early poetry translation by Romesh Chunder Dutt and published in 1898 condenses the main themes of the Mahabharata into English verse. A later poetic "transcreation" (author's own description) of the full epic into English, done by the poet P. Lal is complete, and in 2005 began being published by Writers Workshop, Calcutta. The P. Lal translation is a non-rhyming verse-by-verse rendering, and is the only edition in any language to include all slokas in all recensions of the work (not just those in the Critical Edition). The completion of the publishing project is scheduled for 2010. Sixteen of the eighteen volumes are now available.
A project to translate the full epic into English prose, translated by various hands, began to appear in 2005 from the Clay Sanskrit Library, published by New York University Press. The translation is based not on the Critical Edition but on the version known to the commentator Nīlakaṇṭha. Currently available are 15 volumes of the projected 32-volume edition.
Indian economist Bibek Debroy has also begun an unabridged English translation in ten volumes. Volume 1: Adi Parva was published in March 2010.
Many condensed versions, abridgements and novelistic prose retellings of the complete epic have been published in English, including works by Ramesh Menon, William Buck, R. K. Narayan, C. Rajagopalachari, K. M. Munshi, Krishna Dharma, Romesh C. Dutt, Bharadvaja Sarma, John D. Smith and Sharon Maas.
DERIVATIVE LITERATURE
Bhasa, the 2nd- or 3rd-century CE Sanskrit playwright, wrote two plays on episodes in the Marabharata, Urubhanga (Broken Thigh), about the fight between Duryodhana and Bhima, while Madhyamavyayoga (The Middle One) set around Bhima and his son, Ghatotkacha. The first important play of 20th century was Andha Yug (The Blind Epoch), by Dharamvir Bharati, which came in 1955, found in Mahabharat, both an ideal source and expression of modern predicaments and discontent. Starting with Ebrahim Alkazi it was staged by numerous directors. V. S. Khandekar's Marathi novel, Yayati (1960) and Girish Karnad's debut play Yayati (1961) are based on the story of King Yayati found in the Mahabharat. Bengali writer and playwright, Buddhadeva Bose wrote three plays set in Mahabharat, Anamni Angana, Pratham Partha and Kalsandhya. Chitra Banerjee Divakaruni wrote a version from the perspective of Draupadi entitled The Palace of Illusions: A Novel, which was published in 2008.
Amar Chitra Katha published a 1,260 page comic book version of the Mahabharata.
IN FILM AND TELEVISION
In Indian cinema, several film versions of the epic have been made, dating back to 1920. In Telugu film Daana Veera Soora Karna (1977) directed by and starring N. T. Rama Rao depicts Karna as the lead character. The Mahabharata was also reinterpreted by Shyam Benegal in Kalyug. Prakash Jha directed 2010 film Raajneeti was partially inspired by the Mahabharata. A 2013 animated adaptation holds the record for India's most expensive animated film.
In the late 1980s, the Mahabharat TV series, directed by Ravi Chopra, was televised on India's national television (Doordarshan). In the Western world, a well-known presentation of the epic is Peter Brook's nine-hour play, which premiered in Avignon in 1985, and its five-hour movie version The Mahabharata (1989).
Uncompleted projects on the Mahabharata include a ones by Rajkumar Santoshi, and a theaterical adaptation planned by Satyajit Ray
JAIN VERSION
ain version of Mahabharata can be found in the various Jain texts like Harivamsapurana (the story of Harivamsa) Trisastisalakapurusa Caritra (Hagiography of 63 Illustrious persons), Pandavacaritra (lives of Pandavas) and Pandavapurana (stories of Pandavas). From the earlier canonical literature, Antakrddaaśāh (8th cannon) and Vrisnidasa (upangagama or secondary canon) contain the stories of Neminatha (22nd Tirthankara), Krishna and Balarama. Prof. Padmanabh Jaini notes that, unlike in the Hindu Puranas, the names Baladeva and Vasudeva are not restricted to Balarama and Krishna in Jain puranas. Instead they serve as names of two distinct class of mighty brothers, who appear nine times in each half of time cycles of the Jain cosmology and rule the half the earth as half-chakravartins. Jaini traces the origin of this list of brothers to the Jinacharitra by Bhadrabahu swami (4th–3rd century BCE). According to Jain cosmology Balarama, Krishna and Jarasandha are the ninth and the last set of Baladeva, Vasudeva, and Partivasudeva. The main battle is not the Mahabharata, but the fight between Krishna and Jarasandha (who is killed by Krishna). Ultimately, the Pandavas and Balarama take renunciation as Jain monks and are reborn in heavens, while on the other hand Krishna and Jarasandha are reborn in hell. In keeping with the law of karma, Krishna is reborn in hell for his exploits (sexual and violent) while Jarasandha for his evil ways. Prof. Jaini admits a possibility that perhaps because of his popularity, the Jain authors were keen to rehabilitate Krishna. The Jain texts predict that after his karmic term in hell is over sometime during the next half time-cycle, Krishna will be reborn as a Jain Tirthankara and attain liberation. Krishna and Balrama are shown as contemporaries and cousins of 22nd Tirthankara, Neminatha. According to this story, Krishna arranged young Neminath’s marriage with Rajamati, the daughter of Ugrasena, but Neminatha, empathizing with the animals which were to be slaughtered for the marriage feast, left the procession suddenly and renounced the world.
CULTURAL INFLUENCE
In the Bhagavad Gita, Krishna explains to Arjuna his duties as a warrior and prince and elaborates on different Yogic and Vedantic philosophies, with examples and analogies. This has led to the Gita often being described as a concise guide to Hindu philosophy and a practical, self-contained guide to life. In more modern times, Swami Vivekananda, Bal Gangadhar Tilak, Mahatma Gandhi and many others used the text to help inspire the Indian independence movement.
WIKIPEDIA
Bhusaval, India, 23 January 1980
We visited Bhusaval 3 days after landing at Delhi, our first steam shed bash on our trip. We'd ridden the Rajdhani from Delhi to Bombay the first night, spent the day in Bombay and then it was overnight on the Amritsar Express to Bhuasval.
The Rajdhanis were and are all air conditioned, but the Amritsar Express only non-AC cars. We were in 1st class and bedding is not included in the fare. We'd forgotten to book bedding, which would not have been a biggie, except as we climbed the ghat, it got cold. I'd left most of my luggage and spare clothing in left luggage in Delhi as we would be returning to Delhi in a couple of days, so tried to bundle up in what little extra clothes I had as I shivered in an upper berth. To make matters worse, I had bad heartburn and there was a mosquito buzzing around the compartment. Not my best night on a train!
We arrived early in the morning and watched, but did not photograph (our photo permits were not yet sorted out) a WG trying to get a roll on a heavy coal train on the dew covered rail. Quite the steam and smoke show with the engine losing its feet, but we didn't want to run afoul of the authorities by whipping out the cameras.
After breakfast, we walked to the shed to ask the foreman how we could get permission to take photos. He directed us to the division superintendent down the road. We walk to the superintendent's office, explained our situation, showed our passports and the superintendent gave us a letter saying we could take photos on the railway at Bhusaval and have access to the shed. He also gave us his car and driver for the day!
We rode back to the shed and the foreman welcomed us like long lost relatives with the permission letter. He, or an assistant showed us around and made us most welcome. At the time, there were over 100 steam locomotives assigned to Bhusval and a lot were on shed that day.
Something I only recently realized is that WP 7000, which was up on jacks with its wheels removed and whiting on the frame to check for cracks, was the first WP of over 700. I don't know that any of us remarked on this at the time.
The freight engines were coaled by small steam cranes. The passenger engines were coaled by people picking out lumps of coal, throwing them in a basket and then running up a ramp to the tender and throwing the contents of the basket in the tender.
A big hook with a painting of a tiger was being used to lift heavy loco components. A narrow gauge engine was in for repairs. Goats and school boys wandered through the yard.
After several hours at the yard, food and drink were in order. The shed foreman had fed us tea, so we'd stayed hydrated, but as we had the superintendent's car, and driver, we asked him to take us to the best bar in town. The food and beer were good.
At some point, we wandered around town. We spent the evening at the station, and I got some photos there with the 120 roll film camera that I still need to scan.
My camera case, and old briefcase, broke and I was trying to figure out how to fix it when a Railway Protection Force officer, with a bayonet fixed on his .303 Enfield saw my plight and found a piece of string. Nice young man, and ready in case he had to face down a riot with his .303. :-)
We left town late at night on the Punjab Mail, in AC 1st again and slept a lot better.
It was my 23rd birthday, and one of the most memorable.
BASIC DETAILS
Bus Company: BLUE EAGLE TRANSPORT
Operator: ALFONSO UNAJAN
Bus Name: EAGLE TRANSPORT
Fleet Number: 1121-K
Classification: Non-Air Conditioned Provincial Operation Bus
Route: Tagbilaran City-Ubay via Carmen
BUS BODY
Bus Manufacturer: Hino Motor Philippines, Inc./Partex Auto Body, Inc.
Bus Model: Partex Cat's Eye
CHASSIS
Chassis Manufacturer: Isuzu Motors, Ltd.
Chassis Model: Isuzu FTR33P
(PABFTR33PL7200582)
ENGINE
Engine Manufacturer: Isuzu Motors, Ltd.
Engine Model: Isuzu 6HH1
(6HH1-422867)
Location: West Poblacion, Alburquerque, Bohol, Philippines
Date Taken: May 03, 2018
* Some parts of the specifications may be subjected for verification and may be changed without prior notice.
Bought this at the scrapyard a while back now i have been after one of these for a while but they seem impossible to find in good condition this example is not mint but its decent its also on all of its original paint
Model: me
Make -up: by me
Jewelery: ear rings only
Assistant: my camera
Lights: natural light ( which I love so much )
Conditioned, soft, skin. Try our exfoliation Wrap
Intersection U.S. Highways 29 & 250 By-Pass
Swimming Pool - Air-conditioned - Restaurant - Free TV - Free Holidex Reservations
Curteichcolor Card
1DK-1488
CAPA-023060
Im calling this the Hotpoint Slumberline because its Hotpoints version of the GE Slumberline. this unit doesnt say Slumberline on it at all, and looks completly different on the inside. nothing at all in common with the ge version, BUT the outsides are IDENTICLE, minus having a Hotpoint Tag instead of the GE Tag on the back. I think the GE Slumberline is a MUCH nicer looking unit. just my opinion.
Built in 1963, this fanatic elevator kept in amazing condition by the museum, was great to see and photograph.
The Prairie Elevator Museum is a former Alberta Wheat Pool grain elevator that has been restored and converted into a community gift shop and tea house. The elevator stands within the Hamlet of Acadia Valley, Alberta, next to the defunct Canadian National Railway track bed.
The last of three, the former Alberta Wheat Pool, was saved from demolition when local residents in and around the community of Acadia Valley rallied together to save the last elevator. The elevator has since been completely restored to working condition but is not operable. Within the site are a tea house, a gift shop and a museum. The museum was created to explain how earlier examples of the wood-cribbed grain elevators used work and handle millions of bushels of grain and the importance they once held in many smaller communities, a prairie landmark that continues to disappear across the horizon of the North American prairies.
A restored Canadian National Railway (CNR) caboose has also been placed on the former track bed of the defunct Canadian National Railway. The caboose was placed to remember that there was a railroad that once came through the hamlet of Acadia Valley.
Alcazar Air purifier and air conditioner combination with all hook up and clean filter $125,000 (originally $250,000) (USD $236)
Since the condition of my shoulder and arm is deteriorating, I had to find me some stabilized lenses. My best friend sold me his 18-55 USM IS kit lens and his wonderful 55-250 mm, again USM IS.
Besides that, he had a good external flash for me.
This is a test shot with the 18-55 IS kit lens and the external flash in order not to over lit the white parts of the kitten's fur. I had to act quickly as the kitten is all over the house :-)
By the way: there are two more, but for some reason this one seems to love the camera.
Straight out of the camera, no enhancements whatsoever except for some cropping at the right side.
After all, you can't tell a playing kitten how to pose :-)
UPDATE JAN.1st 2010: 2nd place winner in the contest Pet Super Star 2009 from the (Pet Portraits) Group. Thank you very much for voting and appreciating this picture, it is a great honour!